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Over the summer, Pride marketing declined across major movie brands, and by the fall, streaming services had announced several cancellations of well-loved queer TV shows.

Synopsis: A former baseball player keeps her lesbian relationship a secret from her family for seven decades. Horror, animation, and comedy continued to offer quirky space to gender-nonconforming creators (though that part of A24’s “Together” was censored in China), while high-style dramas like Nia DaCosta’s “Hedda” sought even greater depth in queer voices.

—Alison Foreman

With editorial contributions from Ryan Lattanzio.

Bound together by desire, secrecy, and confused social necessity, the women of this dishy novel persist beyond author May Cobb’s pages into the Netflix adaptation by explosively translating layered radicalization. — but it’s Rotten.)

For now, join us as we celebrate the work of hundreds of filmmakers whose talents and risks have opened up the possibilities of cinema.

Critics Consensus: An illuminating and urgent call to action, Welcome to Chechnya portrays the horrors of the mass persecution of the LGBTQ+ community in the Chechen Republic with tenacity and tenderness.

Most of my final five film choices are clear-cut queer action film winners, though there was one that left me wanting a bit more.
The director plays Dennis, an awkward man who meets the grieving Roman (Dylan O’Brien, in an extraordinary performance) at a support group for people mourning their twins and falls into a co-dependent friendship with him.
Synopsis: Best friends Mimmi and Rönkkö work after school at a food court smoothie kiosk, frankly swapping stories of their frustrations [More]
Starring: Aamu Milonoff, Linnea Leino, Sonya Lindfors, Cécile Orblin
Directed By: Alli Haapasalo

#26

Critics Consensus: Buoyed by Karan Soni and Jonathan Groff's appealingly sweet performances, A Nice Indian Boy navigates cultural mores and romance with an infectiously kind heart.

Synopsis: A coming-of-age "traumedy" that follows 16-year-old Lindy (Maddie Ziegler) who is unexpectedly diagnosed with a reproductive condition, MRKH syndrome.
Synopsis: Aspiring photographer Therese spots the beautiful, elegant Carol perusing the doll displays in a 1950s Manhattan department store. In a year filled with movies where queer people were acting horribly, none were quite as detestable, and also scarily recognizable, as the gays in “Twinless.” —WC
“Viet and Nam”
It’s reductive and even unhelpful to compare the work of one contemporary South Asian filmmaker to another, but Vietnamese auteur on the rise Trương Minh Quý brings to mind Thai queer director Apichatpong Weerasethakul in the best possible ways with his gorgeously composed third feature, “Viet and Nam.” Locating gay desire in the only furtive corners where it can bloom in a hegemonic civilization, “Viet and Nam” is in part the story of two male coal miners who fall in love among the soot and ruins (and with eroticism boiling over in those scenes despite the movie’s hushed, at times statically arranged shots).

It’s both intentionally a little boring and completely engrossing — a snapshot of a time in queer history often overlooked and forgotten. Watch them and more on Fandango at Home!
Our list of the 200 Best LGBTQ+ Movies of All Time stretches back 90 years to the pioneering German film, Mädchen in Uniform, which was subsequently banned by the Nazis, and crosses multiple continents, cultures, and genres.

Synopsis: During the 1970s, San Francisco became a safe haven for the gay and lesbian community, providing a place where one [More]
Starring: Paul Boneberg, Ed Wolf, Daniel Goldstein, Guy Clark
Directed By: David Weissman, Bill Weber

Critics Consensus: Beautifully filmed and performed, Mäedchen in Uniform avoids easy melodrama with its sensitive handling of oft-sensationalized subject matter.

Queer stories continued to thrive where risk and imagination are valued, from indie films that brilliantly explored queerness as both an identity and lived culture, to TV series that embedded LGBTQ characters into smart ensemble storytelling without apology. —AF
“Come See Me In the Good Light”
Out of Sundance, Ryan White’s “Come See Me in the Good Light” emerged as one of the year’s instantly essential LGBTQ releases — refusing to separate identity from humanity, politics from intimacy, or love from fear.

Synopsis: A gay man's (Tom Cullen) weekend-long encounter with an artist (Chris New) changes his life in unexpected ways. Trying to find her way in this brave new world, Carol emerges as one of the most complicated and dynamic queer characters in recent TV memory, at turns deeply relatable and wildly unpleasant, equally grieving the death of her partner as she is lusting after the member of the hive mind that becomes her guide.

—RL
“The Serpent’s Skin”
If “Ginger Snaps” was the sapphic horror awakening of the early 2000s, “The Serpent’s Skin” feels like its modern, Gen-Z descendant.
That’s a personal hangup Vince Gilligan gradually drops into the show, not the entire metaphor the show wraps itself around, but “Pluribus” does investigate the relationship between the individual and the collective in a way that feels decidedly queer.

“Blue Moon” is empathetic towards Hart but also cognizant of his many failings, and Hawke supplies the character with enough empathy that he becomes one of the year’s most frustrating, fascinating figures in film this year.